WAREHOUSETOM HENDRY

STUDY GUIDE

OCTOBER 30–NOVEMBER

15, 2014

THEATRE FOR YOUNG AUDIENCES GENEROUSLY SUPPORTED BY

WAREHOUSETOM HENDRYWAREHOUSETOM HENDRY

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This guide compiled by George Buri for Royal MTC, September 2014.

Royal Manitoba Theatre Centre Presents

By Colleen Murphy

Director – Robb Paterson

Set & Costume Designer – Jamie Plummer

Lighting Designer – Larry Isacoff

Sound Designer – Michael Wright

Apprentice Director – Tatiana Carnevale

Stage Manager – Kathryn Ball

Apprentice Stage Manager – Airyn Lancaster

THE CAST (IN ALPHABETICAL ORDER)

Corporal Michael Armstrong – Justin Otto

Halley Armstrong – Heather Russell

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THEATRE ETIQUETTE

“The theater is so endlessly fascinating because it's so accidental. It's so much like life.” – Arthur Miller

Arrive Early: Latecomers may not be admitted to a performance. Please ensure you arrive with enough

time to find your seat before the performance starts.

Cell Phones and Other Electronic Devices: Please TURN OFF your cell phones/iPods/gaming

systems/cameras. We have seen an increase in texting, surfing, and gaming during performances, which

is very distracting for the performers and other audience members. The use of cameras and recording

devices is strictly prohibited.

Talking During the Performance: You can be heard (even when whispering!) by the actors onstage and

the audience around you. Disruptive patrons will be removed from the theatre. Please wait to share

your thoughts and opinions with others until after the performance.

Food/Drinks: Food and hot drinks are not allowed in the theatre. Where there is an intermission,

concessions may be open for purchase of snacks and drinks. There is complimentary water in the lobby.

Dress: There is no dress code at the Royal Manitoba Theatre Centre, but we respectfully request that

patrons refrain from wearing hats in the theatre. We also strive to be a scent-free environment, and

thank all patrons for their cooperation.

Leaving During the Performance: If an audience member leaves the theatre during a performance, they

will be readmitted at the discretion of our Front of House staff. Should they be readmitted, they will not

be ushered back to their original seat, but placed in a vacant seat at the back of the auditorium.

Being Asked to Leave: The theatre staff has, and will exercise, the right to ask any member of the

audience to leave the performance if that person is being disruptive. Inappropriate and disruptive

behaviour includes, but is not limited to: talking, using electronic devices, cameras, laser pointers, or

other light- or sound-emitting devices, and deliberately interfering with an actor or the performance

(tripping, throwing items on or near the stage, etc.).

Talkbacks: All Tuesday evening performances and final matinees at MTC feature a talkback with

members of the cast following the show. While watching the performance, make a mental note of

questions to ask the actors. Questions can be about the story, the interpretation, life in the theatre, etc.

Enjoy the show: Laugh, applaud, cheer and respond to the performance appropriately. Make sure to

thank all the artists for their hard work with applause during the curtain call.

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ABOUT THE AUTHOR

Colleen Murphy is an award-winning playwright,

librettist and filmmaker based in Toronto. She was

born in Rouyn-Noranda, Quebec and grew up in

Northern Ontario. After winning prizes in CBC

Literary Competitions in 1985 and 1990 for her radio

plays Fire Engine Red and The Pumpkin Eaters,

Murphy went on to have her first stage play, All Other

Destinations are Cancelled, produced at the Terragon

Theatre in 1987. Her other plays include Pig Girl, Beating Heart Cadaver, The Goodnight Bird, The Piper

and The December Man, for which she won the 2007 Governor General's Literary Award for Drama as

well as the Carol Bolt Award and the Alberta Theatre Projects Enbridge playRites Award. Since the 1990s

Murphy has directed a number of short and feature length films and has written two full-length librettos.

Armstrong's War was first mounted as a workshop play in 2013 at the Finborough Theatre in London,

England and had its world premiere in Vancouver in the fall of that same year.

SETTING & PLOT

Armstrong's War involves two characters and takes place in the rehabilitation wing of a hospital in

Ottawa, Canada, from late February to mid-April in 2007. The two meet in the same room over a series

of six visits, one week apart. Halley Armstrong is a precocious and energetic 12-year-old Pathfinder who

wants to earn her Community Service badge by reading to

someone in a hospital. She chooses injured Afghan war

veteran Corporal Michael Armstrong because they share

the same last name. However, Michael first responds to

her energy and optimism with scorn. He declares that he

does not want to be read to and angrily sends her away.

Undeterred, Halley returns the next week, determined to

earn her badge. She manages to find a book that interests

Michael: The Red Badge of Courage, a novel about a

soldier fighting in the American Civil War. Michael is

drawn to the tale of a soldier coping with both the

excitement and fear of going to war and asks to keep the

book to read on his own. Halley is pleased with Michael's

appreciation of the book and tells him the story of a skiing

accident that placed her in a wheelchair.

Matreya Scarrwener and Mik Byskov in the 2013 world premiere of Armstrong’s War at Arts Club.

Photo by David Cooper.

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At their next meeting, Michael tells Halley that he has finished The Red Badge of Courage by himself but

suggests that they read their favourite parts to each other. Michael's familiarity with the book causes

Halley to believe that he has in fact read it several times and his enjoyment of the book helps him to

open up about his own war experience in Afghanistan.

Michael surprises Halley at their next visit with a story that he has written entitled “Armstrong’s War”.

This story, which Halley reads aloud, concerns his two “friends” Aidan and Danny who pledged each

other that, if either was so severely wounded that they would not be able to live a normal life, the other

would "finish him off" by killing him rather than allowing him to live in that state. When Danny is

wounded and loses his legs, Aiden carries out his promise. Halley is very upset by this story and tells

Halley that she believes Aiden should not have killed Danny, regardless of their promise. She argues that

Danny could still have recovered to live some sort of normal life and is outraged by Michael's opinion

that Aiden made an honourable decision.

Halley storms out of the room in anger but, to Michael's surprise, returns the next week, this time with

her own version of Michael's story in which Danny lives, recovers somewhat and leads a happy and

fulfilling life. Despite Michael's angry objection that her story is not realistic, he respects Halley's

optimism and strength. Both characters find a new level of honesty and mutual respect between them.

Halley tells Michael the real story of her accident. Michael admits the story about his "friends" is really

about him and his friend Robbie and tells Halley for the first time what he really did when his friend was

wounded. Michael prepares to leave the hospital and resume his life while Halley teaches him the

Armstrong family motto, “I remain unvanquished.”

CONTEXTUAL BACKGROUND

Pathfinders

The Pathfinders are part of the Girl Guides organization and cater to girls aged 12-14. They emphasize

outdoor activities as well as community building. These activities are designed to foster self-esteem,

respect for others and for the environment and allow girls to develop the skills necessary to make a

positive difference in the world. Girl Guides emerged in the early 20th century as a response to the very

popular Boy Scouts movement created by Lord Baden-Powell of England. A number of girls, who were

not allowed to join the Boy Scouts, demanded an organization of their own and Baden-Powell

encouraged his sister to start such an organization. The first Canadian Girl Guides organizations were

founded in the early 1910s and have continued for more than one hundred years.

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War in Afghanistan

Corporal Michael Armstrong: We’re tasked with helping the government of Afghanistan serve the

needs of their people by separating insurgents from the local populations – except you can’t

defeat an insurgency, best you can do is marginalize it.

Halley: Does that mean we’re not going to win?

In 2001, shortly after the September 11th terrorist attacks carried out by Al Qaeda, the United States

launched what President George Bush called the "War on Terror". This war included invasions of both

Afghanistan and Iraq, although Iraq had no connections to the attacks. In order to facilitate such an

ambitious military undertaking, the United States called on NATO (North Atlantic Treaty Organization)

allies, including Canada. Canadian politicians, not wanting to take part in an invasion of Iraq, chose to

participate in the war in Afghanistan, where the United States removed the Taliban government, who

were accused of sheltering Al Qaeda and its leader Osama Bin Laden.

At the time, the Afghan

war was considered to be

more or less “over” and

the plan for Canadian

involvement in combat

was to be minimal. The

Taliban were quickly

removed from power and

an alliance of northern

warlords friendly to the

United States put in place. But the war lasted much longer than many Western observers predicted. As

Foreign Affairs Minister Bill Graham stated, “I think everybody was convinced that Afghanistan was a lot

further down the road to recovery than it really was." The Taliban government had drawn support from

the majority Pashtun ethnic group and had been financed and supplied by factions within Pakistan. Its

defeat brought about resentment on the part of those who now found themselves without political

power. The mostly non-Pashtun regime created by the US (and led by President Hamid Karzai) had little

support in the Pashtun-dominated South, particularly in the region around Kandahar, the country’s

second-largest city. The result was the reorganization of the Taliban into a guerrilla insurgency that

waged a war against the Afghan government and the NATO occupying force supporting it. Canadian

soldiers stationed in Kandahar played a major role in attempts to defeat the Taliban insurgency.

The outcome of NATO's war depended not just on defeating Taliban fighters in military confrontations

but on gaining the support of the Afghan population. As the United States discovered in Vietnam

decades earlier, it was impossible to defeat an enemy that could continue to find new recruits from a

supportive population. By the mid-2000s, Canadians were suffering more casualties than expected in a

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war that claimed tens of thousands of Afghan lives, and further alienated the civilian population. By the

late 2000s, Canadian support for the war at home was declining. More and more observers, including

Canadian and American politicians, conceded that the result of the over decade-long war would be the

withdrawal of NATO troops without any clear "victory" over the Taliban. In 2014, the last Canadian

soldiers left Afghanistan, ending a 12-year involvement in which 158 soldiers were killed and more than

2,000 wounded.

Post-Traumatic Stress Disorder (PTSD)

(Note: Playwright Colleen Murphy has stated that the character of Michael does not suffer from PTSD.)

Post-Traumatic Stress Disorder is a mental disorder that results from an individual being exposed to a

traumatic event such as a death, near-death experience, serious injury or sexual violence. Psychologists

first characterized this disorder during World War I when it was named "shell shock" and used to

describe the behaviour of soldiers who, faced with the almost unspeakable horror of life in the trenches,

became unable to function, often crying out in fear, running away, or simply shutting down completely

and becoming numb to the world around them. Since then, our understanding of this condition, now

called PTSD, has improved but the symptoms remain much the same. Sufferers may become detached

and have a difficult time experiencing normal emotions or sleeping. They may relive the event or events

that caused PTSD, having painful flashbacks that they attempt to prevent by avoiding activities that were

present during the trauma. For example, a person suffering PTSD after an incident involving drowning

might stay away from water entirely.

Many of those affected by PTSD deny that they have the condition or feel ashamed about it, feeling that

they should just "get over it". They often think that their inability to move on and recover stems from

personal weakness rather than a medical condition. Society has unfortunately perpetuated this idea

that people with PTSD are simply weak. In WWI, for example, those suffering from "shell shock" were

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often branded cowards. Medical professionals today attempt to treat PTSD with a combination of

medication, individual and group counselling, and cognitive behavioural therapy that encourages

sufferers to confront rather than avoid discussing their traumatic experience, and attempt to get the

patient to come to terms with his or her emotions. As has been the case in all modern wars, Canada's

war in Afghanistan produced high rates of PTSD among those who fought. The incidence of PTSD has

doubled among Canadian soldiers in the last ten years, with more than 1 in 20 of those in the Canadian

military having experienced PTSD within the last twelve months according to a recent survey. Thus,

thousands of Canadians have returned from war psychologically injured from the experience.

GLOSSARY

Alexander the Great (356 – 323 BC) – the Macedonian conqueror of Greece and creator of a 3rd Century

BC empire that stretched as far as Persia and Egypt. While Alexander experienced incredible success

conquering much of the known world within a short lifetime, (in what is today Northern Afghanistan) he

experienced stiff resistance and a guerrilla-style war. Alexander's

difficulties are part of a supposed long line of would-be

conquerors of Afghanistan who have been unable to succeed,

including the British and the Soviet Union.

Counterinsurgency - a military strategy for attempting to defeat

an insurgency or guerrillas. Insurgency war does not engage in

open battles or attempt to take territory but instead relies upon

hit-and-run tactics and the ability to engage the enemy and then

disappear into the general population (as such it often relies on

civilian participation). Counterinsurgency then is the attempt to

identify and defeat insurgent fighters as well as to win over the

civilian population who might aid insurgents. Michael comments that counterinsurgency war does not

have a track record of success.

Forensic Science - a branch of science dealing with the collection and analysis of evidence, in particular,

evidence left behind at crime scenes. Halley is an admirer of the founder of forensic science, Edmond

Locard.

Hindu Kush - one of the largest

and most spectacular mountain

ranges in Asia. It runs from

Pakistan through Afghanistan

and is seen by Michael and his

fellow soldiers.

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IED (Improvised Explosive Device) –

a homemade bomb, often left at a roadside.

One of the most common obstacles faced by

US troops in Iraq and NATO troops in

Afghanistan, IEDs could be planted almost

anywhere and detonated remotely, making

tracking down their creator very difficult.

LAV (Light Armored Vehicle) - a vehicle similar

to a tank that is used by modern infantry units. It is faster and more maneuverable than a traditional

tank, allowing it more flexibility in usage. Michael's injuries were sustained when his LAV was attacked.

Medevac - a vehicle for medical evacuation of wounded soldiers.

Petawawa - a town in Ontario that hosts one of the largest military bases in Canada. It is here that

Michael's unit was trained and where he hopes to return once his

rehabilitation is completed.

Red Badge of Courage - an 1895 novel written by Stephen Crane.

The main character, Henry Fleming, is a soldier fighting for the

Union army in the American Civil War. Although he goes to war

with dreams of heroism and glory, Fleming finds that the reality of

war is long stretches of waiting interrupted by confusing and

chaotic battles. When Fleming's fear overwhelms him and he

flees from battle, he feels enormous guilt and hopes to redeem

himself, wishing he had received a battle wound (the titular Red

Badge of Courage) that would demonstrate his bravery.

RPG (Rocket-Propelled Grenade) - a shoulder-mounted weapon that fires a grenade capable of

destroying a tank or armored vehicle. Commonly used by insurgent

armies because of its portability and destructive potential.

Simile - a comparison between two things using "like" or "as". For

example, “The elephant was as big as a house.” Both characters

comment on the use of similes in The Red Badge of Courage.

Spoiler - any discussion of a work of fiction that gives away key plot

points, specifically the ending. Halley warns Michael that she cannot

tell him the fate of a character in The Red Badge of Courage because

that would be a spoiler.

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CLASSROOM ACTIVITIES

Discussion Questions:

How does the play's title contain multiple meanings?

The act of reading aloud figures centrally into the play. How does reading aloud to someone differ from

the act of solitary reading? What are the strengths and weaknesses of both? Which do you prefer and

why?

Compare and contrast the ways in which Halley and Michael cope with the traumas in their lives. Why

do they respond in the ways that they do? Why do you think their responses differ?

What does mental health mean to you as an individual? What does it mean to us as a community?

What can we do to support the mental health of ourselves and others?

Armstrong's War is a two-character play or “two-hander”. What unique challenges and opportunities

are presented by this type of play? As a director, how would you approach the play differently from one

with a larger cast?

Activities

Read the novel The Red Badge of Courage and compare it to Armstrong's War. Why is Michael so

interested in this novel?

Research post-traumatic stress disorder (PTSD). How common is it among Canadian soldiers? What

about soldiers and civilians in other places touched by war? Other than soldiers and those in a war zone,

who might be affected by this condition? Do you think Michael and Halley are suffering from it?

Find information on Canada's participation in the war in Afghanistan. Discuss the impact that it had on

the Afghan people and on Canadians. Should Canada have been involved in this war? Was it an

unwinnable war as Michael suggests?

Debate the question: Was the pact between soldiers discussed in the play morally right or wrong? Did

Michael do the right thing in making the choice he made?

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INTERVIEW WITH THE ACTORS

Royal MTC spoke with Justin Otto (Corporal Michael Armstrong) and Heather Russell (Halley

Armstrong) in September, 2014 about their upcoming roles in Armstrong’s War.

MTC: What attracted you to the script for Armstrong’s War? What were your initial thoughts after

reading it for the first time?

Justin Otto: What first attracted me to the script was Michael and his closeness to my own age and

opinion; we share a similar stubbornness. Straight away I was drawn to its small cast and its subject

matter. War, the ones we fight in foreign countries and those in ourselves, and how characters deal with

the aftermath of trauma is fascinating to me. My initial thoughts were “I need to do this play!” Not only

has Colleen Murphy written a top notch story but it holds two young characters in the lead - characters

that give Heather and me huge challenges as performers; something to chew on.

MTC: Director Robb Paterson describes your Michael as very pragmatic counterpart to Halley’s more

hopeful nature. What else can you tell us about him, and the interesting dynamic between these two

characters?

JO: Michael is someone I sometimes forget is a young man. He’s had to make some decisions beyond his

years and war has hardened him. I believe this pragmatism Robb speaks of comes from Michael’s

dedication to being a soldier. Decisions of such magnitude - those with human life at stake - mold a

practical - some may say distant or heartless - type. Life is now measured like rations, hope for one’s

own sifted out. This breeds the central conflict of these two characters - they both value life but in

radically different blueprints and are ignorant to the others’ opinion. A stubborn young man versus the

preteen optimist - we’re in for a battle.

MTC: The effects of war and the experiences of soldiers are major themes in the play. Do you have

any personal connections to the military? Why is it still important to discuss these topics?

JO: Growing up fairly liberal in my ideals, war has never been an act I can fully stand behind. However,

the choice of men and women to fight for their country and for an idea is a profoundly beautiful act. The

experience Michael puts forward in the play and the effects of war on soldiers is still important to

discuss because we seldom do. Trauma and its effects on us are still marginalized. Whether it’s PTSD,

addiction, melancholia or any of a long list of depressions, we are seeing its influence in the lives of

loved ones and broadcasted on our television screens when we lose another artist. Why I love this play -

and highlight the need for discussion - is that a play wrapped in war and defeat serves as a champion for

more discussion on mental health.

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MTC: This is your first appearance at Royal MTC and in a major role, nonetheless. What are you

looking forward to most about being part of this production?

JO: Besides this Warehouse stage, the large general audience and the shiny dressing rooms? I’m looking

forward to performing the sort of play I’ve been playing in bars, run-down studio spaces and Fringe

venues - a piece of theatre that throws a few punches. As a two-hander it’s intimate, which I hope is

amplified by this fantastic space. It being a major role brings pressure to deliver but more importantly

the opportunity to play and explore each and every night. As a bonus it’s under the direction of Robb

Paterson and the fantastic eyes, minds and expertise that play a hand in every production here at Royal

MTC.

MTC: What do you hope audiences get out seeing the play?

JO: I want the audience to find the hope within these two characters because the play hits at so many

personal issues. I hope they get angry, I hope they find the humour, I hope they form some new strong

opinions and rethink some old ones. Feel with Michael and Halley, not just for them. Something Michael

says sticks with me with each reading, “I chose this.” I hope the audience can leave the theatre with an

idea of what that means to them. And for them to like me, because let’s be honest I’d love to be

welcomed back here!

MTC: Your character, Halley, is younger than you are in real life and also lives with a disability. As you

move into the rehearsal process, what challenges do you think you might face preparing for this role?

What can be learned when taking on a character that’s so different from you?

Heather Russell: As someone with full use of my body, I don’t often stop to think about what it would be

like if my mobility was limited. To get a glimpse of what life is like for Halley, I’m meeting with a young

woman who uses a wheelchair. Recently, I’ve had the opportunity to portray young characters (last

season I played a 17 year-old and a 6 year-old). I try not to think of them as younger than me, and I

embrace their hopes and fears as though they are my own. It’s exciting to explore characters with

different life circumstances and to discover that at their core, they are more similar to me than I first

realized.

MTC: Halley is a Girl Guide member who is very focused on earning all of her badges. Do you have any

personal connection to the Girl Guides organization? Can you recall a time when you were just as

driven as Halley to achieve a goal?

HR: I wish I had been a Girl Guide - I’d sure be a lot handier! Thankfully, two Pathfinder units were kind

enough to let me participate in their meetings this fall.

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When I first decided to become an actor, I auditioned for five theatre schools... and was rejected by all

of them. At the time, I didn’t know that it was good training for life as an actor - on average, actors

audition for fifteen roles and get one! But I didn’t give up. I moved from my hometown of Brandon to

Winnipeg, took acting classes at Prairie Theatre Exchange, and was then accepted into the Honours

Acting program at the University of Winnipeg! After graduating, I worked full time as a server and

auditioned a ton, eventually landing my first professional gig. One of the hardest things about being an

actor is that you’re always on the hunt for your next job - you have to be very stubborn, but also

optimistic. Actually, I think Halley would make a great actor!

MTC: Halley and Michael are two people from very different walks of life. What’s so special about

watching them connect and learn about one another throughout the play?

HR: It’s lovely to witness two characters that initially seem so different fumble, fight, and ultimately find

a friend where they least expect it. I think all human beings are on a quest for acceptance. Michael and

Halley’s journey encourages us to risk being vulnerable and to challenge our assumptions along the way.

REFERENCES

Eugene Land and Janice Gross Stein, The Unexpected War: Canada in Kandahar (Penguin: 2008)

http://www.cbc.ca/news/world/canadian-military-involvement-in-afghanistan-formally-ends-1.2569162

Post-traumatic stress disorder. Canadian Mental Health Association

http://www.cmha.ca/mental_health/post-traumatic-stress-disorder/

Kelly Grant, "Post-Traumatic Stress Disorder Doubles Among Canadian Forces", Globe and Mail, Aug 11

2014, http://www.theglobeandmail.com/news/national/one-in-six-military-members-have-mental-

health-problems-statscan-says/article19990160/

http://www.bbc.co.uk/history/worldwars/wwone/shellshock_01.shtml

http://www.playwrightsguild.ca/playwright/colleen-murphy

Girl Guides of Canada: www.girlguides.ca